Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteure

In 2012, the animated movie Ernest & Célestine was a public and critical success, as evidenced by its nomination for numerous international awards, including the 2013 César for Best Animated Film. This example illustrates the commercial logic of contemporary crossmedia: an animated feature film...

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Main Author: Christine Plu
Format: Article
Language:fra
Published: Association Française de Recherche sur les Livres et les Objets Culturels de l’Enfance (AFRELOCE) 2024-01-01
Series:Strenae
Subjects:
Online Access:https://journals.openedition.org/strenae/10900
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author Christine Plu
author_facet Christine Plu
author_sort Christine Plu
collection DOAJ
description In 2012, the animated movie Ernest & Célestine was a public and critical success, as evidenced by its nomination for numerous international awards, including the 2013 César for Best Animated Film. This example illustrates the commercial logic of contemporary crossmedia: an animated feature film “based on Gabrielle Vincent’s picturebooks”, followed by many by-products over ten years. Knowing that film adaptation never allows for a logic of fidelity to the source, this article focuses on the choices made for this 2012 feature film, which does not recount any of the author’s books. While this first film was announced by the adapters as a “tribute” to the Gabrielle Vincent’s graphic work, the aim is to highlight some contradictions of this free adaptation, questioning the limits of the transposition of a graphic work and the erasure of the main dimensions of a creation identified by its emotional and aesthetic sensibility.
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spelling doaj-art-874bbf3307604581aec3f7097f06db042025-08-20T02:20:10ZfraAssociation Française de Recherche sur les Livres et les Objets Culturels de l’Enfance (AFRELOCE)Strenae2109-90812024-01-012310.4000/strenae.10900Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteureChristine PluIn 2012, the animated movie Ernest & Célestine was a public and critical success, as evidenced by its nomination for numerous international awards, including the 2013 César for Best Animated Film. This example illustrates the commercial logic of contemporary crossmedia: an animated feature film “based on Gabrielle Vincent’s picturebooks”, followed by many by-products over ten years. Knowing that film adaptation never allows for a logic of fidelity to the source, this article focuses on the choices made for this 2012 feature film, which does not recount any of the author’s books. While this first film was announced by the adapters as a “tribute” to the Gabrielle Vincent’s graphic work, the aim is to highlight some contradictions of this free adaptation, questioning the limits of the transposition of a graphic work and the erasure of the main dimensions of a creation identified by its emotional and aesthetic sensibility.https://journals.openedition.org/strenae/10900illustrationtransfictionalityadaptationauthoranimated moviespicturebook
spellingShingle Christine Plu
Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteure
Strenae
illustration
transfictionality
adaptation
author
animated movies
picturebook
title Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteure
title_full Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteure
title_fullStr Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteure
title_full_unstemmed Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteure
title_short Les adaptations d’Ernest et Célestine ou comment détourner une création d’auteure
title_sort les adaptations d ernest et celestine ou comment detourner une creation d auteure
topic illustration
transfictionality
adaptation
author
animated movies
picturebook
url https://journals.openedition.org/strenae/10900
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